Ryan Coogler's latest work may have revitalized the concept of African American undead, but the origins of this cinematic category trace back to the Blaxploitation era. Among the most memorable early examples was the 1972 classic Blacula. In that motion picture, the actor's character is bitten by Dracula and cursed with the insulting name “Blacula.” Initially conceived as a caricature, Marshall transformed the role into something majestic, giving his figure an 18th-century backstory as Mamuwalde, a proud African prince.
Years afterward, the comedic star seemed to take inspiration from his predecessor, enriching his own character's mythology in Wes Craven's take on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn demonstrates that Black vampire stories can be funny, terrifying, and intellectually stimulating simultaneously, securing its place in the canon by balancing all three while honoring the heritage of the category.
Debuted three decades back on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an essential watch if you need a little comedy with your scares this Halloween.
An Urban Vampire Story
Like Prince Akeem in Coming to America (the actor's classic from 1988), the vampire lead is drawn to the Big Apple. But instead of journeying from Zamunda to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to locate and ensure the survival of his undead bloodline with an heir of his clan.
The character makes his entrance in New York aboard a phantom vessel whose crew has been inexplicably killed, a nod to Nosferatu. The ship is discovered by harbor official Silas Green (John Witherspoon) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. Silas then witnesses a dark creature leap from the ship, run into an alley, and transform into a human — reminiscent of the iconic routine from the extended Black or White video. Groovy 1970s-inspired soundtrack kicks in, setting the tone for a film that expertly mixes scares and laughs.
Artistic Goals
Recently after his last installment in the iconic horror series, Craven was eager to break from his scary movie image and make a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which exploited horror tropes for both laughs and real fear). At the same time, the star wanted to subvert expectations by venturing into a straight horror rooted in vampire mythology. The conflict of those creative goals explains the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But when the film clicks into high gear, it opens up to its strengths — like its diverse ensemble.
The acclaimed actress, as the object of Maximillian’s affection, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), brings a crime-drama edge to the story. One of African American film's most acclaimed performers, Bassett delivers a powerful performance with her co-star, a well-known actor from the era. Meanwhile, Murphy spends the majority of the film with his comedic partner, forming a hilarious classic comedy pair as the actor's Julius Jones becomes the vampire's minion. (Watching Julius descend further into his ghoulish role as his appearance deteriorates during the movie is a highlight of how the star's comedic style elevates the comedy and horror, even when utilized by other actors).
Dark Seduction
When Max and Rita’s paths intertwine and the stars finally share the screen, the movie hits its stride — the suspense builds, the fear escalates, and their sinister attraction takes center stage. The vampire's scheme is to take away all Rita has in her life and then intervene. He kills her roommate, creates conflict between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a clergyman and weaken her beliefs.
As the story unfolds, it becomes more darkly romantic, including metamorphoses and revelations of origins. This leads to a third act packed with temptation, as life and eternal punishment hang in the balance. The movie concludes with a stinger hinting at a potential sequel, one that could have happened had the film performed better. Vampire in Brooklyn earned a modest box office return and received largely critical reception upon release. Over time, it gained popularity as a cult favorite, with reviewers later applauding Craven’s direction, the electric chemistry Murphy and Bassett, and its sharp blend of frights and fun. The film flashes moments of brilliance that might have shone brighter had everyone involved been aligned on a cohesive approach, rather than delivering the mixed-genre result viewers saw. Still, Vampire in Brooklyn has rightfully earned its place in the history of African American scary movies, an overlooked but influential film characterized by its bold style and unforgettable performances.
